Thank you for this summary of your views Lex.
After reading it I went to Corbetta 1648 and, indeed, the style of writing
(especially the use of chords on the three 'lowest' courses) does seem rather
different to his post 1671 stuff. I had previously thought this was a just a
stylistic (ie ea
> > Have a look on p. 71 of the same book, LGR, last full bar of the
> > second line. Do you suppose the dot above the d cipher on the 4th
> > course means to leave that particular note out while still
> > maintaining a barre? Otherwise you have the resolution note sounding
> > against a dominant c
I don't seem to have received Lex's latest message. Perhaps I have been
black-balled. Can you send it again?
Sanz says that guitarists in Rome use only thin strings. He doesn't comment
on what guitarists elsewhere in Italy did - presumably because he didn't
know. But Foscarini, Bartolotti and
I have a much clearer print out of the copy in the British Library and
this dot is not visible in it! I'd want to look at the original before
commenting!
Monica
> > > Have a look on p. 71 of the same book, LGR, last full bar of the
> > > second line. Do you suppose the dot above the d cipher
Maybe Lex forgot to send it to the list?
> Thank you for this summary of your views Lex.
>
> After reading it I went to Corbetta 1648 and, indeed, the style of
writing (especially the use of chords on the three 'lowest' courses) does
seem rather different to his post 1671 stuff. I had previously
I don't know whether Lex is referring to the scordatura pieces (I can't spot
any three part chords on the lower courses eslewhere - but I haven't got
much time to look at present).
But the notes which fall on the 5th course and which appear to belong to the
bass part in all these passages actually
After my message below
Monica Hall <[EMAIL PROTECTED]> wrote:Date: Sun, 4 Sep 2005 15:04:35 +0100
To: "Martyn Hodgson" <[EMAIL PROTECTED]>
CC: "vihuela"
From: "Monica Hall" <[EMAIL PROTECTED]>
Subject: [VIHUELA] Re: Foscarini/Corbetta - low basses
Maybe Lex forgot to send it to the list?
> Than
Bit of confusion reigning here I suspect: it was me that mentioned three part
plucked chords on the 'lowest' three courses in Corbetta 1648 eg page 72, 3rd
system, 2nd bar (I presume the 'melody' is on the fourth course - ie fall on
fret 3 to 1 on first course in 1st bar and thence onto fret 1[w
Yes - I did, of course, discount examples where the melody is clearly on the
5th course.
Naturally with these tunings and the style of play it's difficult to be certain
but page 72 is 'normal' interval tuning and, as I mentioned earlier, the melody
here is on the fourth course.
M
Monica H
>
> Just for clarification: when recommending the re-entrant tuning doesn't
Sanz (1674) remark that earlier guitarists (esp in Italy) used it?
Presumably this from his earlier time in Rome where he met Colista,
Corbetta, Granata and thus, one supposes, based his observation on a direct
recollectio
> Have a look on p. 71 of the same book, LGR, last full bar of the
> second line. Do you suppose the dot above the d cipher on the 4th
> course means to leave that particular note out while still
> maintaining a barre?
I don't think it is a dot. We find exactly this chord many times in other
piece
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